8° (170 x 107mm). Collation: A-N8 O4 (A1r title with Kerver device, A1v anatomical man, A2 almanac, A3r-8v calendar, B1r-3r Gospel sequence [Martyrdom of St. John, 3 small cuts], B3v-8r Passion according to St. John [Betrayal, 6 small cuts], B8v-G3v Hours of the Virgin [Tree of Jesse, Annunciation, Visitation, Nativity, Annunciation to the Shepherds, Adoration of the Magi, Presentation in the Temple, Flight into Egypt, Coronation of the Virgin, G4r-H4r Seven Penitential Psalms [Annointing of David], H4v-K4r Office of the Dead [Raising of Lazarus], K4v-8r Hours of the Cross and of the Holy Ghost [Crucifixion, Pentecost], K8v-L4v Office of the Immaculate Conception [Virgin and Emblems], L4v-6r Office of St. Barbara [one small cut], L6v-N1r Suffrages [Trinity, 22 small cuts], N1v-O3r Seven prayers of St. Gregory, and other prayers, including those for saying on Saturday, to St. Roch, others attributed to St. Augustine [Emblems of the Passion, 3 small cuts], O3r colophon, O3v-4 blank). 106 leaves (of 108, lacking A2 and O4); G4.5 and O2 possibly supplied from another copy. 26 lines. Main type: 79R. Printed in red and black. Large Kerver device, anatomical man, 18 large metalcuts and 35 small portrait metalcuts; multiple-piece ornamental and historiated borders to each page, inserted border text printed in red. (Small wormholes, heavier at beginning and end, light finger-soiling at lower corners, light dampstain at lower margins and at hinge in final 3 quires, margins strengthened or repaired neatly in 4 leaves.) 19th-century citron morocco, upper cover inset with octagonal Limoges enamel panel depicting the Nativity and with 4 silver-gilt bosses and two clasps set with cabuchon garnets, purple watered silk liners, gilt edges, signed by Gruel. Provenance: Marshall Clifford Lefferts (booklabel, sold 1945, lot 2010, £42).

With the full set of Kerver's "large" metalcut series, as described by Davies. 'This new set is distinguished by its greater freedom from convention in the treatment of the designs, there being an appearance of relief or modelling in comparison with the older cuts: cross-hatching and other forms of shading are introduced' (Davies, p.303). Four of the cuts had previously been used by Pychore and R. de Laistre in 1503. The Crucifixion shows a clear influence of Dürer's Large Passion. Brunet Heures, 186; Lacombe 200.